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Digitized by the Internet Archive 
in 2011 with funding from 
The Library of Congress 



http://www.archive.org/details/childrenssingingOOwill 



CHILDREN^ 



AI^R^ANGED BY 
EL£AN01\WITHEY WILLAI^D 



RINGING GAHE^ 




Published BY 



THE WICHTCAN Tl^U^T COMPANY 



GP^AND K^PIDS, MICHIGAN. 



Cbilbren'e 




mgmg 

©famee 



SHustcateb anb arranjjeO 6? 

f 

€leanot f^ittjep il^xHarD 



/r Cf)e ifEic|)tsan Crust Company 



1^95 NOV 4: 1G95 






Copyright, 1895 
By The Michigan Trust Company 



JSnibtrsttg ^ress 

John Wilson and Son, Cambridge, U.S.A. 



H /Ihert^ Cbdstmas! 

1595. 

" ^t Cl^ristmas plag anti make gooti cl^eere, 
iFar (llfjrfsttnas comes but oricc a geere." 

E beg you to accept this copy of our C^rtS'tlltas! HBoofe^ ^^i^ with 
it our best wishes that the day may be a glad one for you and 
yours. Should there be no little folks in your own family, you 
doubtless know some child to whom the book will be , a joy; 
and, moreover, it is not at all unlikely that you may fiira some 
interest in the volume yourself. You have probably played 
many of these old games ; and the curious origin of some of them will interest 
you now more than when you were a child. 

In any event, if this little volume shall add anything to your pleasure, we shall 
feel sufficiently rewarded in our attempt to bring something of the spirit of Christmas 
into the business world. If you should by chance discover any shortcomings in our 
work, you will kindly remember that we are not publishers, as we may seem, 
but only * 

' . Your obedient servants, 




E\}t iHtdjisan Erust Compang. 



PREFACE. 




T has seemed to us a propitious time to call again into notice these 
old singing games for children. Many of these games, familiar to 
the last generation, are passing away in the present. The kinder- 
garten, with its many pretty songs and plays, is creating a natural 
revival of singing games; and it seems to us that these ancient 
plays should be rescued from the realm of mere folk-lore, and be made once more 
to take a part in child-life. 

Children, trained as they are in the kindergarten to use actions and words in 
unison, if allowed to play these games naturally, and with spirit, will find an outlet 
for their activity wnich will prove as beneficial and pleasing in the present as it 
has been in the past. 

We have taken much pains to give pretty games little known in this country, as 
well as some of those familiar to us all. The list might have been extended almost 
indefinitely. The tunes will be found in all cases simple and suited to the child- 
voice. To the old, well-known songs we have given the old, well-known tunes. 

We return our grateful thanks to the many friends who have assisted in the col- 
lection of these games, and in the arrangement of the music. We also desire to 
acknowledge our obligation to the English work of Alice B. Gomme, " Traditional 
Games," in her " Dictionary of English Folk-Lore," to which we are indebted for 
many suggestions, and especially for the basis of our versions of "London Bridge" 
and " Green Grass." To this valuable w^ork we would refer any who may become 
sufficiently interested in these games to wish to follow out their historical signifi- 
cance. And, finally, our thanks are due to the Library of Michigan University for 
the loan of books, and to the Newberry Library of Chicago for their list of works 
on the subject. 



CONTENTS. 



Page 

London Bridge 9 

Soldier, Soldier, will you marry me? 15 

Looby Loo 19 

Oats, Pease, Beans 25 

Round and round the Village 29 

Here we go round the Mulberry Bush 33 

Little Sallie Waters 39 

Green Grass ^ .... 43 

Uncle John is very sick 49 

I'll give to you a Paper of Pins 53 

Jenny Jones 59 

The Needle's Eye 65 



LONDON BRIDGE. 
NOTE. 

THIS game is a very ancient one, and can be traced through the German, 
French, and ItaHan, as well as English versions. It is mentioned by Rabelais 
as early as 1533. In some cases it has a mythologic character, as in the Italian ver- 
sion, where the gates are those of the Inferno and Paradise, Saint Peter the keeper 
of one. Saint Paul of the other. The great importance of holding bridges in ancient 
times probably accounts for this game ; and the building and rebuilding of one of 
such note as London Bridge becomes easily a subject of nursery rhyme. In early 
times, when bridges were built, it was customary to offer a foundation sacrifice in the 
shape of human victims. This game may be a tradition of the rite. " So recently 
as 1872 there was a scare in Calcutta when the Hooghly Bridge was being con- 
structed. The natives got hold of the idea that Mother Ganges, indignant at being 
bridged, had at last consented to submit to the insult on condition that each pier of 
the structure was founded on a layer of children's heads" (Gomme's " Early Village 
Life," p. 29). And there is a tradition of London Bridge that the stones were 
bespattered with the blood of children. This may explain the fact that there is 
always in the rhyme great difficulty in building up the bridge until a prisoner is 
taken, showing a trace of the old heathenish ceremony. 



DIRECTIONS FOR PLAYING ''LONDON 

BRIDGE." 

Two players represent the bridge by raising their arms so as to form an arch. 
The others form in Hne, holding each other by the dress or hand, and pass 
under the arch. When the words " Here 's a prisoner I have got " are sung, the two 
keepers of the bridge let their arms fall, catching whichever child happens to be 
passing under at the time. The prisoner is then led off to a place representing the 
prison, or " den," and there he is asked, " Do you choose a diamond necklace or a 
gold pin?" The keepers have already privately agreed which of these objects each 
will represent ; and the prisoner is allotted to one side or the other, according to his 
choice. When all have been caught, the game ends with a " tug of war" between 
the two sides. 




ondonBridgb: 




J -^ J J' 



i 



r -T J J J- 



^ 



s 



London Bridge is ^a.l/m5 down, Ta.llin^ down, falling down, 



J ^ i i i ; J 



^^ 



S 



London BrtdSe is |'a.llin& down, My f a.i r La-- dy . 




Jju/ld it up witfi iron wars, 

Iron oars, iron /oairs, 
Bu»'a (t up witfi iron losers, 



iron loa-rs wi// bend and bre&.k^ , 

£end a-nd (area^k, foend and breaks, 
Iron bars wi// bend and Dreal<; , 



M 



1y I'ai'r Lady 



Bui/d it up witfi feold and si/ver, 

Gold and sDvey, boli and sil\/er. 
Build it up wif/i ^oM i.nd S(/v/e>- 



M 



1y /a-ir Lady. 



Get a m&n to uvaTch a/I m&ht, 

Witch i// ni&hf , (A/atcA a// ni&ht , 
Get a. m a.n fe watcfi all ni&fit , 



M 



1/ ^' 



Lad 



y- 



'ut a pipe into his rnoufh , 

Jnfo his rnourh , into fii S rnoufh , 
lut a aipe. !nTo n/s mouth , 
liy -fai r LaLOy . 

G-et a do& To Dar k al/ ni6nT , 

Bav-k a/1 I'^^t', fcirk all mS^t, 
G'et a. doS to bark aH ni"6/it. 



G'ola and silver LI he stolen away, 

Stolen away, stolen away, 
Gold and Silvet' '11 /ae stolen away. 
My fai V Lady . 

Suppose tl-ie- man should fa.!! asleep, 

I'a/I asleep , /a// as/ee lo , 
Oupjoos e the ma^n snoula /"i/i as/eeo, 
rly. +ai r Lioy . 

Suppose ffie tt'pe s nou/a ■/a// and oi^eaki 

rill and wreak , -fi'i ana orea.k, 
Ouppose tfie arpe ^fiould fall and trea/<^, 



ri y £a i r L a d 

G)upposG ■^fie ao& should meet a oone , 



'ft 

(Suppose, /he 006 sAou/d meet & bo-ie, 
.Jy. 



M y ^ai f La.J< 



Gei 



M tc 



a cock lo c fow a' 



n;s/it. 



Crow all ri'i&ht , crow all m'Sbt, 
Get a cock to c>-ow all ni&ht , 



ir L ad' 






Wuts fU 



net-e's a. prisoner I ^ia.ve bot , 
1 nive bot , I hatve hot , 



Here's a prisoner i fia-v( 
^y ^a-fr Lady, 



M 



't. 



3.15 /he prisoner done to you , 
JJone To you, done To you, 
W/ha/s The prisoner done ro you, 
MJ j^i/r Lady? "^ 



Otble my watch and lost "ly f^eys. 



_^ 



my 



■ny kfiys, lost my /<eys , 
vatch and lost 'my Aeys , 



M 



\jj^,r^.y. 



Ladv 



ly Aeyi 



A hundred pounds wi'// set him /re( 

Set nim -free, set fit'm free, ' 

A nundred p'ounds vvill seVhim -free, 
M'. r,-J . J I 



My ^air Lady 



t\ hundred pounds he nas not 6ot 

Has not bot, has not feet, 
n Hundred pounds he has not 6ot , 
Hy /"aiV Lady. 

'^ 'o prison ne must bo , 
He must fcjo ne must 60 ,, 



Offt 



(Jtt to prison he must 60^ 
My fair Lady . 



13 



SOLDIER, SOLDIER, WILL YOU MARRY ME? 

NOTE. 

THIS game is an old one in the United States, and has been sung in nearly every 
part of the country. It was evidently only a children's game in its origin, giving 
testimony to the child's regard for a soldier as a superior member of society. It is 
best adapted for a house game at children's entertainments. 



15 



DIRECTIONS FOR PLAYING ''SOLDIER, 

SOLDIER." 

Two children having been selected to play the parts, the girl sings the first 
verse. When the soldier has sung the verse demanding a coat, the girl goes 
away, and returns with a coat, usually obtaining it from the other members of the 
company, and so on through all the verses. The last verse sung by the soldier never 
fails to produce a grand laugh. 



,r6 




SOLDIER . Soldier 

V/ILL-YOU. MARRY. ME 






( f^'vst VO/C&.) 

njiij | i,ri7 



Solcliec,soldfef, Will you marry fne^ WifH your 

{Second voice) 



J J J I J i 

«t s * — — &^ 



knapsd.c(< 7 -^ij^e , and c/rum ?""0'i, 



1 •: — «L 



how can I rriirrv suc^ a pretty maid is mee 



jjlj °' J -r J: 



Wfien I've 6ot no coaJ" to DuT on ' 



(Cfnorus ) 



#- 



^s 



^ 



i 



^H J J. ■' J 



Tren a^^ sfia ra-n to the tai 1 o r'3 sfiO|D, As j^ast as she couM run, 



*- 



mi m l — m l -W- — — - 



^ 



S 



J j-J JJ I j ^ i ^ 



And she Doub/it film a coat of the very^ very best , Aficl the. Soidier rout if on. 




s'oLDrER-1soLDIER-|wiLL-YOU-/>nARRY|ME' 




(First voice) 

Solaier, so/uier, wT// you ma-t^ry me , 

(5, 



Witli your knapsack, Afe , and dh-um ? 
cond, voice) " OK , fiow can I rnaKi-> 



■ econd, voice) " OK , fiow can I ms^rry such a prettv m6.t(i as f/iee ^ 
WKen IVe &ot no snoes 7b Put on <* 
(Gnorusj 

Tfien away she fan to tKe s/ioemakers shop, 
(First voice) -^^ 

Q)o/dier, soid/ev-, will you ma.r\^y me , 
Wi+fi your knapsack , f'f e , and drum '^ '' 
(Sec on d voice) '' Oli , fiow can J md.rry Suoli a pretty maid ds thee , 
Wfien I've bot no liat To put on ? "''' 
(Chorus) 

men axA'ay sh& ra.n To The- natter's Sno/o, 
(first vo/ce^ jgcv 

ooldier, so/d/er, wi// you marrj/ me , 
W/tn^our knapsaoi<,-^('Tpe , and drum ? "" 
(.Second vo/ce) "^"^Ofi , fiow can I rn&rry such a preffy fnai'd as tAee, 
^hen I've bot no fe/oves to put on ^ ^■' 
(Cfiorus) 

/^- I . . Tnen away she. ran Tofhe b'ove-makers snop, 

(tirsT voicej -/ o ^_,_ 

Q>o/di£r^ soldier, will you marry me , 
With your knapsac k,-^/Te , and drum *'''■' 
(c^econd voice) ^'^Oh, how can I marry suoA a pretty rrjaia as thee., 
When I've bot a^ feood wi^^e at nome _ _' 




LOOBY LOO. 

NOTE. 

THIS is an English game, but no trace of it is found in American books of 
singing games. Our version, both words and music, was received from a 
Michigan. lady, who doubtless learned it in her childhood from some English source. 
According to Miss Gomme's " Traditional Games," this game had its origin in the 
imitation of the postures of animals, as one version is found in which the words are 
"Here we come louping " (leaping). This word having become obsolete, the game 
has become merely a dance, in which the movement of the different parts of the body 
is all that survives. 



19 



DIRECTIONS FOR PLAYING "LOOBY LOO." 

THE children form in a ring, and, joining hands, dance around while singing the 
first verse. At the second verse, they stand still and suit their actions to the 
words. Each child extends the right hand towards the centre of the ring as far as 
possible, then draws it back; then each shakes himself from side to side, and at the 
last line each one turns quickly around. Then the ring goes round again to the 
words, " Here we dance looby, looby, looby," and then the left hands are used in 
the same way. The dance around follows again, and at the next verse the right feet 
are extended and withdrawn in the same way. Then the elbows go through the same 
motions, the dance around following each time. The game may be lengthened by 
adding to the various motions " ears in," " heads in," etc. There is also a method of 
playing it by which each player does an additional movement in each verse until the 
last, when all the actions have to be gone through together. Forfeits may be exacted 
for any mistakes. Tiie game then becomes very lively. 




ILooBY Loo 



(7 A/^ 5: f ^ fe 4^ — te t-K 


Y ^ h — << f' •! ^^ •' ^^ — •J 




Het-e we dance /ooby, loohy ^ /oooy, 



^ 



^^ 



nere we- dance looby, lopoy, liS/it", 



^TT-^rr^ 



IS N 



■i-.jjj'.i jLi 



p 



ev-e we dance /oooy, /ooby ^ looby , /oo , L've.ry oa^ru^-day ni^^t. 




^^ 



=^ 



-^ J i I J - 



Vut your r'l^ht ha-nds in, Put yOur ri^ht hands OuLj 



•^^J J'j Ji-:^ ^ 



* * I W J 



Give yourse'ves a snake, sneLke,shaLke , And turn yourselves aoout. 



Here we dance looby, loony , /oooy, 

Here we a a>. nee looby, loooy (I'ftKt, 
Hev-e we dance looDy, looby^ loooy loo, 
Every Sd-turday n/Sfit. 



Put your leH hinds in , 

rut your lefl naoids out , 
Give -yourselves Sv. sfiaAe, slna^ke, sfia.ke, 



And turn yourselves a^bouT. 



Here v/e- d.anc& looby, looby, looby, 
Here we dance looby,/ooby , l/Sbi" , 
nere^ we d&.nce loooy, looby, iooby^ /oo. 



Every SaJ^ord&y ni§bt 



Put your ri^ht -Peet in , 
rut your TiSht fe^T 



■Pe^T out , 
Gfve yourselves a sn^v.ke sna^ke , S-bake, 
Ana turn yourselves a^hout. 



Here we dd.nce loohy Jooly , JooIdy 

Vut your left jeet in, 

rut you f left -feet out , 
6"ive yourse/v/es a. sfia^ke, sfiake, sfia^ke. 
Ana turn yourselves afcout. 

Here we daL,nce Ioodn/. loooy, foo Ly , 

rut youf ri'^ht elbow in, 

Put your ri^ht elloow out, 
GiVe yourselves 3w sfiake., sliake^, slid-ke, 
And turn your^e/ves aibout. 



Here we dd.nce looby, loowy^ /oooy. 



Put your left elDow in , 

Put your left elhow out , 
ixive yourselves a. sfiake, sliake , sfid^ke-, 
And furn yourselves afcout. 




23 



OATS, PEASE, BEANS. 

NOTE. 

THIS game is a favorite not only in America, but is sung in England, France, 
Spain, Sicily, Italy, Germany, and Sweden. It was played by Froissart as 
early as 1337, and probably takes its origin from rustic festivities connected with 
harvesting. Oddly enough, there is in none of the versions any mention of wheat, 
which would seem to indicate that the game goes back to a time when wheat was not 
in creneral cultivation. 



25 



DIRECTIONS FOR PLAYING ''OATS, 
PEASE, BEANS." 

THE players form in a ring, and circle about one child who stands in the centre. 
They sing the first four lines, and then the ring stands still, and each child 
makes the motions of sowing the seed, stamping foot, folding the arms while they 
"stand at ease," clapping hands, and finally turning round. Then they clasp hands 
again, and circle round. At the words, " Open the ring and choose one in," the child 
in the centre chooses and takes into the ring a partner, a boy taking a girl, or a girl 
taking a boy. These two kneel while the ring sings the concluding formula. At the 
end, the child first in the centre returns to the ring, the second remaining in the 
centre, and the game is repeated. 



lOATSi PEASE 




n r' ^ \ t 


^ ■ s 


fr*^ — = — ^ — ^ ih^h 


J J J J .-^- 


(5; . «— ■! — " • 





Oa^ts , pea.se, bea^ns ,d.-nd bes-f/ey brows, (Jats, pease, Dea.ns a^nd faeu-iey 



^3 



=b^ 



You, nor 1 , nor nobody kno\yvs , Hov^ oa^fs oe&^se, bea-ns , 2>.nd oa-r/ey g»rows, 



£b ^ J- J J 1 — r^ 


1 s 

1 — J J J _ [: 


-^^3 * — •^ *^ *^^- 





Tbus tbe-fkrrner sovvs nis seed, Ihus ne sta.nds d-nd fa-kes his ea.se, 




3 



^S 



s 



^ r ^ J ^ r =:^ 



Sia-mps fni's -foot &.ncf 0I&.PS his bia-nds , And Turns a-round to view his Unds . A 



27 




i 



waiting -foi* a- partner, A- 



r — c r ^ «^. J ^ 



waitin6 -for a partner ; J 



r c J r r «J1J 



open the rinfe ,a.nd choose one m ^ /\nd kiss hei^ i^hen you 6et l-ier in 




now youVa rna.rried , vol/ must obey, 
You must be true To a.11 you say, 

jou must bt kinu, you must fcebood, 
/And keep your wi^e /n Kina/mfc-wooo . 



28 



ROUND AND ROUND THE VILLAGE. 

NOTE. 

THIS is a familiar game in both England and America, and owes its origin to 
the customs of early times. It is a childish imitation of village festivals or 
marriage ceremonials, beginning with the procession " round and round the village." 
The words, " as we have done before," indicate that it took its origin from some 
festivity which was observed at regular periods of time. 



29 



DIRECTIONS FOR PLAYING "ROUND AND 
ROUND THE VILLAGE." 

A RING is formed, with one player standing outside. The ring stands still, and 
sings the words describing the actions of the child outside. At the first 
verse, the child dances around outside the ring. At the second verse, the children 
in the ring raise their hands, allowing the one outside to pass under. She runs in 
under one pair of arms and out under another, and so winds in and out until she has 
passed around the ring. She tries to complete the circle by the time that the verse 
is sung. At the third verse, she stops in the centre of the ring and chooses one for 
her lover, and they stand facing each other till the last verse, when they kiss. The 
first child then takes her place in the ring, and the game is continued by the second 
child. The game is continuous throughout. There is no pause between verses, nor 
between the endinsir of one round and the beginning of the next. 



30 



[\OuND <S> KpuND 

The Village . 




Kound a^ncl found the vi'l 



a-be , 



r\ou nd And round trit 




:^ 



J* ff. 



r. rr . i J 



Vi ll&.&e' , Kound and round the vMla.6e, As we h^^/e done he fore- . 




in and out the windov\/s , 
In and out the w moow s , 

ina.ndoutthe windo\A/s, 
As weha^ve done hefor© 




ota.nd d.nd fd-ce your lover, 

ota^ncl &.n6 fs^ce 'you \f lover, 

otd-nd a-nd i-Ace your lover, 
/\s we nc>.ve done u&fore^. 



Kiss her before you leaive her, 

Kiss ne.r oeZ-ore you /ez^ve her 
K'isb ner oefore you /eave n&r , 
As we liAve done ive-fore^. 



32 



HERE WE GO ROUND THE MULBERRY BUSH. 

NOTE. 

THE "Mulberry-Bush" has probably been sung and played by every native- 
born American. In Massachusetts the " barberry-bush " is substituted for the 
"mulberry-bush," and the last line is sometimes sung, "All on a frosty morning; " 
but the essential characteristics of the game are the same the country over. 



DIRECTIONS FOR PLAYING "HERE WE GO 
ROUND THE MULBERRY BUSH." 

THE game consists in simply suiting the actions to the words of the song. It is 
especially attractive to little girls, who love to go through the dumb show of 
washing, ironing, sweeping, etc. 



34 




^ 



£ 



± 



Het-e we bo f-ound The mulidei-ry hush 



^ 


»-n 


^^f::^ 


^ 


(k_ 


'^T 


iSf= 




—S.: S S S 






— «LJJ 



r^e mu/oerry hush , the muiaefry hush. 



^ 



J j .r J •> 



J JnJ ^ 



^^ 



let-e we 60 rouno tne, mu'oerl-y hush. So ea.i'ly in th 



e morni nc 




This fs tne w2s.y we wa^sh our c/oThes, 

We wasfi our clot/ies, we wa.sfi ourclorhes, 

This is tne ws.y we wa-sn our clothes, 
Oo ea-f-ly ( londd-y 010^0106 . 



3S 




Ih/s ("s The Wd-y we iron ouf clothes, 

We iVoa out- clothes , we iVon out' c/orhes , 

In/a p's me wc^y we iron oli*" clotnes , 
Oo &d.r\y luesaa.y rnorn(n& } 



I's 'S The wa.y we sckuo the. f/oor', 
We scrub tRe /loo r, we scruh'iUe. ^loor, 
\W\s is the w^y we scruo tfie jloot*, 
So exrly U/ec/nesaa-v rno/'n/n& ' 




IhiS isthe'v^a.yvve mencl our Clothes, 

We men a our ofothes^we/nenc/ our oloTn CS , 
I his )S the Wd.y we mend Our clotne.S , 
-/y rnarsad-y 



So ea-c/y rnarsdd-y morninft ' 



36 




This I s tfi £ w ^y we. Sweep the house. , 

We sweep me fiouse^ we iweep The house , 



Jhis is the wa-y we sweep the house 

■ >- I Q ?^ v/ m r^ [.- n I n o ' 



r I y ri- 1 d a- y 



'8 . 




Thus we pla-y when oup- work i5 done, 

Our work /s done, our work is done. 
Thus we pla^v when our work is aone-. 



s vA/e pi 
So ea-rly Od^turaa.y worn i nS 



37 



LITTLE SALLY WATERS, 

NOTE. 

THIS is an old and widely known game among those in which love and courtship 
are made the basis of the action, with a final ceremony ratifying the choice 
made. The English version says, " Little Sally Waters, sprinkle in the pan," which 
doubtless refers to some old formula said or sung when the sprinkling of water was a 
part of the ceremony. There are many variants of the game. 



39 



DIRECTIONS FOR PLAYING -LITTLE 
SALLY WATERS." 

THE players form in a ring, with Sally Waters in the centre. She kneels or sits 
on the ground, with her face covered with her hands, as if weeping. The ring 
dances round, singing the lines. When the words, " Rise, Sally, rise," are sung, the 
child in the centre rises and chooses another from the ring, who goes into the centre 
with her. She then goes out of the ring, while the second child remains and takes 
the part. The singing begins again, and the game is continued until all have 
personated Sally. 



.40 




LITTLE ■ SALLY ■ WA T E R S 




-# 



i 



■I jH ^ .1 . 1 1 J. ^|j J .1 



^^ 



Little Od-ily Wd-tez-g , a^-S'ttinS m the Sun , Cryi'nb and 



^s 



^^ 



3: 



3 



^^ 



^ 



eepi n& foe &. youn6 ma^n , f\iSe ,oa-My, cise , w(pe off youi 



^ 



I J J J I J. Ill JZ I^ 



J J J | -I ^ 



eyes , ^\y to tfie eivst , Tly fo the west , 



/ y f o t h e V e r-y o n e 



f r I r ^ J ^ 



'h&.t you love jDesL, 




^jjiiifi^^-*^ 



41 



GREEN GRASS. 

NOTE, 

THIS is a very pretty English game, little known in this country. Its probable 
origin is very interesting. 
Henderson's " Folk-Lore of Northern Countries " describes the curious rites 
accompanying the blessing of the dead in the Scottish Lowlands. Empty dishes are 
placed on the hearth near the fire ; and when certain ceremonies have been per- 
formed, the company join hands and dance round the dishes, singing, — 

" A dis, a dis, a dis, 
A green griss, 
A dis, a dis, a dis." 

In many versions of the game of Green Grass, the first two lines of this rhyme are 
retained in the same form, with the exception that the " green griss " has been 
changed to "green grass." In this version "a dis" has finally been converted to 
" dusty." 

This would indicate that the game was originally a child's imitation of an old 
burial ceremony. Several versions, like this one, suggest love, courtship, and the 
death of one of the lovers, but the courting and dancing are made the principal 
features of the eame. 



43 



DIRECTIONS FOR PLAYING "GREEN GRASS." 

THE players form in two lines. One line stands still, while the other walks 
forwards and backwards, singing the verses. A child to be chosen has pre- 
viously been decided upon by those advancing; and at the question, " Will you 
come?" the name of the one chosen is supplied, and he replies, "No." The line 
then forms a ring, and dances round while singing " Naughty lad," etc. In case a 
girl is chosen, " lass" is sung instead of " lad." The question, " Will you come ?" is 
asked again, and the child replies, " Yes." The child goes over to the line, and all 
dance round together. The line continues to advance and retire, singing the verses, 
until all have been chosen. In case the child says " No " to both questions, the line 
has to repeat the verses, and choose another child. 



44 




EEN GRASS 





^ 



^ 



i 



? ~ 



in^ 



^ 



I ri pni nb up the 



th 



th< 



ppinb up the &reen ^rs-ss , The breen gre^ss, the green ^ivkss, 



^=^=^ 



^ 



^t ^ 



Irippjn6 up the ^reen ^re>.ss , ,JJust-y dusT-y ds-y 



45 




GREEN GRASS CONTINUED 







^ -Lj! i J — I ■' -^ J. — 



You shall hdve ^ duck , my ded.r^ And you sh^^n h^>vt ^ swe^n 



# 



\ N 



I\r i -I 



^ 



t^ 



And 



you sh^li hzsve ^ nice younS ma.n , /\ - w^ifm^ j-OK to come 





46 



^J^greFtTj^I^ g^kas^ 




'-<^ 




fc^ — tr-f* 



^^ 



^=F^ 



s 



uuppose ne wev-e fo die' , /And )ea.ve hiS wi-Pe a. widow , C 



i Jii J 



-^"1 ,i- i J. -f ^ 



all ye pretty \d.\t- m&.'ias , Come. cld>p yoai- hands fo &efherl 



-W 



r 



47 



^^IE5I3I 




CoTTc^-UDEDJj 



js J. J J [- .r ,r J ^p j-_ J . 



^ 



Naubhty laLcl , he wont come, out , wont come out, ne wontcome out. 
Now xA^eVe tiot our nonny /EN-d , bonny Id-Uy our bonny la^d , 



^^ 



t 



•'• Qji J J i 



Na-ubnty l2!^d , he wont come Out, to help us w^h our dd-ncin[^ 
Now we've 6ot our bonny la.d, to nelp us with our qa-nc i n5 ' 




t 



^ 



w;ii 



^oa 



come 



? Yes. 



48 



UNCLE JOHN IS VERY SICK. 
NOTE. 

THERE are indications that this game has an ancient origin, and has come down 
from old ballads in which a knight is saved from death or disaster by the 
daughter of .the tyrant who keeps him in prison. The latter part of the rhyme is 
very familiar in this country, but we give here the complete song, which is less 
known. 



49 



DIRECTIONS FOR PLAYING "UNCLE JOHN." 

THE ring of players circles round, singing the first lines. At the words, 
" governor's daughter," all squat down, and the last down stands apart and 
whispers to some player the name of a boy whom she honors with her choice. 
(In case a boy is last down, he gives the name of a girl.) She then returns to 
the ring, and takes her place with her face outside. The confidential friend then 
announces the name of the boy chosen, and the next lines are sung with the names 
of the pair inserted at the proper places. At the last line, the ring breaks up, all 
clapping hands and dancing round. The game may then be repeated, with a chance 
for others to take the parts. 



5° 



Uncle John 

IS V^RY SIC 



^ 







Uncle John IS very sick, Wha^t sfia-ll we 



^ 



P 



f=^ 



send h I m f Three Sold wishes , three ^ood kisses , And e>. shoe of 



^ 



E 



J J J . III M ^ 



&in6ei' . Wha-t sKaII we send it in? In a. piece of pa.per. R 



^& 



>t 6ood enou&h , But in a. golden seduce r, Who sfi 



^ 



J J J J , 1 I ^ 



send it by ? By the Governor's d<i.u§hter , T^ke her by the 



^^ 



Jily-white hd^nd , And lea-d her over the w<i-ter. 




rla^rry _, SO they sa^V , 

Goes s.-couH-r/n6 n(6 nt a-n cl aa.y , 
Sword z.na pistol hy nis side., 

And Susie to be nis hriae. ; 



Takes nei-Dy tne /i/y-whife hand 
And lezs-ds her over the water, 

Here's a Kiss ,ivnd there's &. kiss , 
ror rlr 's aa-u^hfev-. 



I'LL GIVE TO YOU A PAPER OF PINS. 

NOTE. 

THIS game is probably of Scotch origin, but is best known in the EngHsh and 
American versions. There are many variants, in some of them the suitor 
casting off the maiden at the end on account of her avaricious taste, since she signi- 
fies a willingness to accept him for the " key of his chest." But we have chosen a 
version wherein true love has its reward, and the pair live happily ever after. 



53 



DIRECTIONS FOR PLAYING "PAPER OF PINS." 

THIS game scarcely needs any directions for the mode of playing. The parts 
are taken by a boy and a girl ; and the verses may be repeated by different 
players until all have taken part, or until another game is chosen. 



54 




7o You A PAP^f^ 




-^ 



. 1 .1 J .f I J ^ ^ . 1 J I J ^ ^ 



^^ 



I'll &ive to you a. paper o^ pins , V^''' ^tid-ts me wa.y tfiat love be& 






rfyou 



will ma-rry me,me^rne 



?y 



ou w/ll marry me 



7 



ill not accept your pamper of pins. 
If tlid-ts tine way ffiaf /ovt be&inS , 
A.nd i 1/ not marry yo u , you , you, 
Ana il/ not marry you. 



55 




ni 



>ive To you a.n ea-sy c/ia.i 



not ^cce pt your- easy c/ja-iv-, 



lo Sit fn and com/o your bo/c/en /lai r, T^ sit m and comb my bolder, Kal r, 

If you will ^- ----- A , r.„ X y S 

Jf you 



vvillmai-ry rne ,me, i-n& , 
w/ K marry me . 



And i'll not marry you,yOu, you, 
And I'll not marry you 



n 



ive Toj/ou asilver spoon, ill nofaccepf your si/v/er spoon , 

dj^our baioe in+he aj^femoon, 7^ feed my lo^.hein th^ aft&rnoon , 

»u will m&rry me, me, me, /\nd/'nnof marry you, you , you , 

T you will marry me. And ]')] not marry you. 



1.1 ^ive To you adress of&reen, IH not accept your dress of fei-een, 

lo maka yoc looK like any nueen, lo m^ke me look like any Queen, 

J I you will marry me, me, me, Andlllnotmarry you , you , you , 

l-tYOuwiHmarryme. Anal7lnotmarryyou'. 




56 



I'LL Give-To you-a-paper- op-PINS 

CONC L UDED. 



1 K b'l ve To you the Key o-f my chest, I'll not accept t/ie fCey of your cnest, 
I hat you rn&y n&ye money at yoL/^- }"e^ue/sT, /fiAi 1 may have money a-t my J-efeoear, 
1+ you wi/(in2.rK-yrne-,n-ie,rne., Anc/i'll not mahry you^ you, yoUj 



ou wi ;/ m a.r r y me . 



Anc/ I'll not 



you. 



J II Siva To you trie key o| my heart, Yes, i'/l accept the key Cjt your heart, 

'hat we may love 2,.n(i never part, Inat we may love a-nd never parf, 

J 4 you w/llmarry me, me, me, Ana i wi/i man-y you, you, you, 

if you will marry me. And J w) // marry you 




57 



JENNY JONES. 

NOTE. 

THIS game needs no introduction. It is familiar to the oldest inhabitant. 
Versions of it may be found in England, Scotland, Ireland, going back to a 
very early date. Doubtless the original name of the leading character was Jenny Jo, 
Jo being an old English word meaning lover or sweetheart. From this it has gone 
through various stages of corruption until it has been modernized into Jenny Jones ! 



59 



DIRECTIONS FOR PLAYING ''JENNY JONES." 

ONE child takes the part of the mother, and is seated. Another, representing 
Jenny Jones, stands or rechnes near her. The rest of the players join hands 
in a line and move backwards and forwards before the mother, singing the words. 
The mother replies, and the questions are repeated until one has been asked for each 
day in the week. The news that Jenny is dead is received with great grief; and 
then proceeds the discussion as to the burial costume, some one suggesting blue, red, 
green, pink, etc. At the last verse, the ring breaks up, pursued by the ghost of Miss 
Jenny Jones. 



60 




Jenny Jones 




nj*r- 










— f- 












K 


1 


h 






W^ 


— s — ' 




— « — 


—m — 


-J- 


+ 


— • — 


— 


-^ 


^ 


J 


-^ 


--J_ 


^ 


■^ 



We 


ve come Lo 


see 


^hss . 


e nn y Jones . 1 


llSS J 


enny J ones ,1 liss 


Jenny 


-TT^ 


i 




, 


r- ' _ 


' 


>^ . 




V .11 1' 1 _i . r - 1 1- 


-^ ^ 






• J 


J 


J 


— 1 1 ~ <nJ 


J 


- *»' 




'•dj . 


J ' ^ 






)/> 




• -I • 





Jones , We've " come to see f^i'ss Jennv Jones , And how is snc to 6z.j/ 



6 1 



I llSS Jenny is a.-W3.shinq , 

/a - Wd-sn ;' n& , a^-\A/cySn inc 
I I/S5 Jenny is d--waL5hin§? . 



You ca.nt see fier to-d. 



'y- 



We've coma io see ' liss Jenny Jones, 



I iiss Jenny iS a^- sFArcn i n^ 
A-sta,rc^iing, a^-sta-rc/imfe , 

/ liss Jenny /s a- sta.rcn/n§ , 
You cd-nt seefier fo da-y. 



roor Jenny is ill, 

rbor Jenny ;s il/, 

You ca^n't see ner lo-a: 



y- 



y 




We 



e ve come Lo se 



' liss Jenny /s ironi'nfi , 
Is ironing, IS ironing, 



t I iiSS Jenny J< 



ones , 



I liss Jenny ^s ironinl 



You ca.nt see ner To-d; 



y- 



W/c 



Ve come to see / I'ss Jenny Jon&S, 



liSS Jenny (S a--sweep/n6, 



,nj 



/A ■ 5weep/'n& , a--Sweep/n5, 
ss Jenny /s aL-sweepinS , 
You ca^nT see ner to-da 



t/- 



We 



come To see niss Jenny Jones, 



62 




w, 



e i/e come 



to see I liss Jenny Jones , 

rooi' Jenny is c(y(n& , 
is Oyin^ , (5 ayln& . 

roor Jenny is oy/nS , 

You Cd-nt see he-t- tod, 



We've come to see Pl.'ss Jenny /on< 

'oor Jenny is (}&&.(}. 

16 dea^o (S c/ea.il, 
roor Jenny I's aea.d , 

Vou ca,n't see her to <Ja.y . 



7 



Blue 



Wha.r sh<j.l| vve dress her I'n 
Dress fierm, dress Aer in 

n/nat sha.ll we dress fier in, 
Dress Aec in fo-Ja-y , 



Bl 



L/e IS for sailors 
for Sd-ilorS , for Siilors 
luc is l-Or Sd.1 /orS 
Oo IhAl will never do • 



"l^ed" 



Ked is for firem-en , 

for firemen, -/^or firemen, 
r\ed IS for firemen , 

<Jo tlnal vA^i/l never oo , 



(jrreen is ^Oh-sa-ken, 
rorsa-ken , forssi-ke-n , 

Green is fors&k&n , 
bio Tnat wi/l never do. 



"P/n/<- 



Pink /s for barbies , 

for Ldloies , -Per i3a.bJes , 

Pink is for loa^bies , 

So thd-t wi/l never ao. 



ea-d peo 



Black" _ ^^l^hiie" 

Bld^ck IS for mourners, lA/fi/fe is for c!< 

for mourners , for mourners , for aea.c( people, j^or ae3>-a peco/e, 

Jj/ack IS for mourners, w/r/fe is for aeij people , 



pie 



oo tnat w;i/ never(3o> 



5o tfat wi/l Surely do. 




i dred.mt I sslw a ^fost la-st ni^nt, 

A ^nost last n/^ht, agifiost Iciest ni^ht, 

1 drea^m t I saw a ^fost lastn/gnt, 
Under fne aople-tree. 



64 



THE NEEDLE'S EYE. 

T 



HIS cfame is so old and so familiar as to need no comment. 



65 



DIRECTIONS FOR PLAYING "THE 
NEEDLE'S EYE." 

THIS game is played in a similar manner to " London Bridge." Two of the 
tallest children raise their arms to form an arch, while the others pass under. 
The hands are dropped over the one who happens to be passing at the end of the 
verse; and the question, "Will you have a rose or a violet?" or some similar one, 
is asked. The one caught then takes his place behind the one whose side he has 
chosen, and the game goes on till all are caught, and ends with a tug of war. 



66 



THE 

Needle's eye 




TT^ 



§± 



^ K 



— vr — N-i — r< — r* K— 1 — ^ ^^= — 

2" J- J- J j ^! J J J 



The needle's eye, tlie^t dotli supply, Tfi 



ey 



rry^ 



-ir^ ^ j^ ] y—. 


>. 1 


y m m 


. 


1 




J 1 


W ^ 


«l 1 



threa-cl thcvT t'uns so truly, Inere's 



if^ 


K 




\ ^ 












^ 






r 






fc- 




















P^ ""T 


* ^ 






1 J 1 






^ ^ 




r 


^ J a 


- ^ 






J •- •! 






1 1 






/fl^ •! « 


J 




*■ - -1 -1 




• 


ru • 






•• 


ma^ny a- la^ss Tnes-T 1 ve lef od-ss , Beca-use i wa^nlea you , Be - 


'^ • r« 


• r- 1 


J 








• _ 1 


1 




" S 


4 r r 


1 


















^ 




-• w 




J 


^ '" 


^ 








, 






















' 














C 'isuse- 1 wa^ntecl you , Jjeca>-use 1 vA/a^n/ed you, T/iei-e's f 


n An y 


n'W 




'■ 




A 






" 


\ \ 






Y m 




\ 




^ 


J r 


^ 




J 






n 




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« 




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f ^— 




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5- 1 2^ss that i v e let pa-bS , Deczs-use i wa-nTed you 




6; 



The Michigan Trust Company, 

GRAND RAPIDS. 




Capital $200,000.00 

Surplus 100,000.00 

Deposit with. State Treasurer . . lOO.OOO.CO 









X 



— - ^N 



©fftrcrs. 

LEWIS H. WITHEY, President. 
WILLAKD BAElfHAET, Vice-President, 

DAEWIN D. CODY, 2cl Vice-Presideut. 

HENEY IDEMA, 3d Vice-President. 
ANTON G. HODENPYL, Secretary. 
GEOEGE E. HAEDY, Ass't Secretary. 

P. A. GOEHAM, 2d Ass't Secretary. 



THIS Company is authorized by law to receive and execute trusts of every cliaracter, 
from courts, corporations, and individuals. It was organized for tlie express pur- 
pose of acting- as Executor, Administrator, Guardian, Trustee, Assignee, 
Receiver, and General Agent in any matter of business, taking entire charge of estates, 
real and personal. It is subject to examination by the State Bank Examiner, and its deposit 
of $100,000 with the State Treasurer, in addition to the liability of $200,000 on the part 
of its stockholders, is security for the faithful performance of its duties. 



N. L. Avery, 

WiLLARI) BaRNHART, 

James M. Barnett, 
Darwix D. Cody, 
f. a. gorham. 
Thomas Hkfferw, 



DIRECTORS. 

Anton G. Hodenpyl. 
Harvey J. Hollister, 
Henry Idema, 
Samuel B. Jenks, 
Frederick Loettgert, 
Alfred D. Rathbone, 



Willlvm G. Roftnson, 
Samuel Sears, 
Dudley E. Waters, 
T. Stewart White, 
l.EWLS H. WniiEY, 
Rdkert B. Woodcock, 



W. W. Cummer, Cadillac, Mich., E. Golden Filer, ]\ranistec, Mich., 

Charles H. Hackley, Muskegon, Mich 






.V 








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